ISSUE 27 | NOVEMBER 2013
for PHOTOGRAPHERS
AND AFICIONADOS
www.fllmagazine.com
DYLAN FOX
Watching the skies
JANE USSHER
Coast - A New Zealand Journey
TONY KEARNEY
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Welcome to fll Magazine
Thanks to all of our readers who responded to my editorial last
month asking for feedback on the magazine, and for suggestions
on our content and direction. It's very much appreciated and quite
humbling that all of the comments were positive or favourable
- not a dissenting voice in evidence anywhere!
This was, and remains, an open invitation so your feedback is
welcome any time.
Here's what we have in store for you in issue 27:
New Zealand photographer Jane Ussher partnered with writer
Bruce Ansley to produce a beautiful new book, COAST - A New
Zealand Journey, launching on 1 November, the same day that
this issue of fll goes live. The book, all 464 pages of it, celebrates
our stunning coastline and the people who live, work and play on
the wild, wet edges of our landscape. We talk to the authors and
share some of our selected favourite images with you. Plus, every
subscriber goes in our draw to win one of three copies of the book.
Two Australian photographers complete the line up of talent in
this issue:
Adelaide based Tony Kearney uses vintage film cameras and black
and white film to shoot objects from his personal collection as
late afternoon light plays across his kitchen table for this series
called Closer. Only a few images have been published before, and
we're pleased as punch to showcase the entire series to date (the
project is an ongoing one) right here!
Dylan Fox hails from Perth, Western Australia and is an avid
landscape photographer, constantly watching the skies for just
the right weather to capture something truly special. We think he
has, and a portfolio of some of his carefully composed and perfectly
exposed images is the third feature in the magazine. One of Dylan's
images is on our cover this month.
Enjoy this issue of fll. m
Tim
tim@fllmagazine.com
Issue 27 | November 2013
fll Magazine
P 0 Box 37-233, Parnell
Auckland 1151, New Zealand
www.fllmagazine.com
Publisher/Creative Director:
Tim Steele
tim@fllmagazine.com
Editorial:
editor@fllmagazine.com
Advertising Sales:
sales@fllmagazine.com
Design/Layout:
Donna Hoyle & Sara Lockett
of Donna Hoyle Design
Web Developer:
David MacLeod
Contributors:
Gary Baildon :: Tony Bridge ::
Darran Leal :: Ian Poole ::
Malcolm Somerville
Featured In This Issue:
Jane Ussher:: Tony Kearney ::
Dylan Fox
Notice To Readers and Advertisers:
The publishers of fll Magazine take
every care in the production of each
issue of this title but we are not liable
for any editorial error, omission, mistake
or typographical error. In the case of
advertising material supplied, we as
publishers, make no representation and
provide no warranty as to the accuracy
of descriptions or offers within. As
publishers we accept no liability for any
loss, which any person may incur while
relying on the accuracy or description of
any statement or photograph herein. The
views expressed by all contributors are
not necessarily those of the publisher.
fll Magazine reserves the right to
decline any advertising for any reason.
Copyright/U Magazine 2013: All of
the content published in this magazine
is subject to copyright held either by
the publisher in the whole or in part
by the contributing photographers.
Any infringement may incur legal action.
No part of this magazine may be used in
part or in full in any way without the
express written permission of the publisher.
fll far PHOTOGRAPHERS AND AFICIONADOS | 1
The f 11 team
GARY BAILDON aka The Shooter was schooled in the dark arts of
photolithography, before talking his way into a well-known Auckland studio
in the heady 80's. Most of the 90's were spent in a plausibly deniable series
of roles in the photo industry. After his disappointment at Y2K not signaling
the end of the world, as we know it, he returned to shooting people, products
and fast moving objects for filthy lucre. Helmeted and suited, he now spends
weekends in his small German racecar, the latest in a succession of fast toys.
For shits and giggles he plays both drums and bass in bands you've never
heard of, in places you've never been to.
TONY BRIDGE is a fine artist, photographer, writer and photo educator-
depending on which day you catch him. Yoda like, he hides away in the hills
in Hanmer Springs, where, like any good modern day guru, he thinks way
too much, constantly reinvents himself and pontificates on one of his blogs.
Rather than joining the rest of the team in the cult of Mac, he insists on
trying to build the 'ultimate PC' - poor deluded man. Apart from that tiny
lapse of judgement, as the good Yoda himself would put it, 'Learn from him,
you will'.
DARRAN LEAL is a photographer, adventurer and educator. An Australian
by birth, he combines his twin loves of travel and outdoor photography by
running tours, workshops and seminars and guiding photographers to
stunning locations around the globe. Prior to inventing this great gig, he
variously sold cameras, served food and wine, built gas pipelines, explored
for diamonds and discovered that the life of a park ranger was not for him.
When not up to his ass in crocodiles, cuddling gorillas or herding photographers,
he fishes the world's oceans, rivers and streams. Only his fishing exploits
suffer from exaggeration, believe it or not the rest of his adventurous life
is, amazingly, true.
IAN POOLE has been a member of the AIPP since 1976, holding various
positions within the Institute. Truly a trans-Tasman go between, Poole has been
a long term judge of the APPA's and a guest judge in the NZIPP Awards for eight
years. Well known for his extensive work as an educator at both Queensland's
Griffith University College of Art, and Queensland University of Technology,
and with a background as an adverbsing/commercial photographer in Brisbane,
Ian is now turning his hand to finely crafted black and white portraiture. He is
a director of Foto Frenzy, which specialises in photographic education in
Brisbane. Erudite, witty and urbane, or so he tells us, be'sfll's latest Australian
ambassador and a most welcome addition to the team.
2 | Issue 27 | November 2013
MALCOLM SOMERVILLE spent far too much of his working life within the
evil empire that once was the largest multi-national manufacturer in the
photo industry. His resulting knowledge of photographic and chemical
processes is so deep that he is still deemed to be a security risk. A past
president of the NZIPP, Malcolm is the ultimate fixer, a go to guy for anyone
wanting to know anything about professional photography and photographers.
Malcolm has been a writer and industry commentator for many years and
has the innate ability to spot a crock of the proverbial at 500 paces.
TIM STEELE is the ringmaster of the travelling circus that is fll Magazine.
A former high wire artist for corporate masters in the photo industry, he still
has nightmares about delivering the physically impossible, on occasion under
the whip of the seemingly insane, and always for the terminally unappreciative.
A brilliant escape from the last of these gulags left a tunnel for other prisoners
and led him to consultancy in strategy, advertising and marketing. Always
impressed by the Bohemian lifestyles, devil-may-care attitudes, cruel wit
and sheer bravado of professional photographers, he now frequents their
studios, shooting locations and watering holes in search of his personal holy
grail, great images to share with/ll readers.
WARNING - HOTLINKS ARE EVERWHERE!
Amazingly, some readers are still blissfully unaware that this magazine is a veritable hotbed of hotlinks,
so this is a friendly reminder! There are links to online content such as videos, and to websites which
expand on the ideas on offer here in the magazine. Anywhere you see an image of a computer screen
contains a link, there are highlighted links within articles and all advertisements link to the advertisers
websites so you can learn more about the products you're interested in. Simply click on the ad.
If this is still baffling, learn more in our expanded instructions on page 121 of this issue.
fll for PHOTOGRAPHERS AND AFICIONADOS | 3
Featured in this issue
Jane
USSHER
COAST
A New Zealand Journey
Tony
KEARNEY
Closer
© Will Wilson
© Tony Kearney
Dylan
FOX
Watching the skies
© Dylan Fox
COVER IMAGE © Dylan Fox
www.dylanfox.com.au
Contents
Welcome
1
Meet the team
2
Contents
4
In plain sight
6
Editorial
8
Tony Bridge
10
Darran Leal
116
PSNZ
120
Malcolm Somerville
122
ACMP
124
AIPP
126
AIPA
128
NZIPP
130
Gary Baildon
132
Subscriber Prize Draw
135
The Deep End
136
4 | Issue 27 | November 2013
f 11 for PHOTOGRAPHERS AND AFICIONADOS | 5
In plain sight
ELEMENTAL ICELAND - BY STIAN REKDAI
'Stian Rekdai and crew spent three weeks in September wandering
around Iceland, taking pictures with Nikon cameras and lenses,
then using LRTimelapse, Adobe Lightroom and Adobe After Effects
for all the postproduction stuff. The end result is a bright, vibrant
piece of work that really shows off Iceland's harrowing
beauty' -ADWEEK
Source: ADWEEK via Vimeo
CLICK ON THE SCREEN IMAGE TO VIEW THIS VIDEO
PLAYSTATION 4: PERFECT DAY
Lou Reed's 'Perfect Day' is the karaoke backdrop to this PlayStation
4 commercial that imagines a couple of committed gamers going
about their dueling, shooting, and racing business while singing
contentedly in unison. Directed by Matthijs van Heijningen, DP
Joost Van Gelder.
Source: studiodaily via YouTube
CLICK ON THE SCREEN IMAGE TO VIEW THIS VIDEO
VIDEO PROFILE: RINZI RUIZ - STREET ZEN
Los Angeles street photographer, Rinzi Ruiz is profiled in this short
film. In it, he describes what inspires his unique approach for
photographing the City of Angels. This video is a collaboration
between The Candid Frame and Alas Media.
Source: The Candid Frame via YouTube
CLICK ON THE SCREEN IMAGE TO VIEW THIS VIDEO
SUBSCRIBE NOW FOR YOUR CHANCE TO
WIN 1 OF 3 COPIES OF 'COAST' THIS MONTH
See full details on page 137 of this issue. Please note all existing
subscribers also go in the draw, which takes place at the end of
November 2013.
THE PRIZE IS KINDLY PROVIDED BY OUR FRIENDS AT RANDOM HOUSE.
6 | Issue 27 | November 2013
The Leica M is available in black enamel or silver chrome finish.
NEW: LEICA M
Traditional form. Totally modern function.
Kyrgyz nomads graze their horses on the shores of Song-Kul Lake - a centuries-old tradition. Their clothing,
or perhaps the look in their eyes, reveals their dreams of a better future. It’s an intense moment, as if made
for the new Leica M - a camera so compact and discreet that it seems predestined to capture the unnoticed
aspects of life. It combines traditional M virtues with cutting-edge camera technology - a newly designed
high-resolution, full-format sensor, Live-View, video capability, and advanced new focusing methods
guarantee brilliant images that tell fascinating stories.
Discover the new Leica M at www.rn.leica-camera.com
Lacklands Ltd I 09 6300753 I sales@lacklands.co.nz I www.lacklands.co.nz
Editorial
When the going gets tough...
Our beloved camera companies
occupy a special place in our
hearts, supplying as they
always have, the tools that are
our means of production, self
expression and creation.
Spare a thought for these
companies now as they deal
with year on year massive
decline in sales across the
camera market, driven largely by mass adoption
of smart phones. This revolution has laid waste
to the segment previously defined as 'compact'
digital cameras - once occupied by low
involvement, low investment happy snappers,
driving manufacturers businesses by volume
rather than by margin, accounting for a big
chunk of annual production in the process.
In recent years most manufacturers claimed
that the compact segment was pretty marginal
business anyway, increasingly commoditised by
a downward spiral in price points and fierce
competition for market share of this sunset
business from their retail channel partners.
The GFC impacted as well, forcing consumers
to focus on reducing their discretionary spending
by defining priorities - in this case, electing, en
masse, for smartphones rather than compact
cameras.
That compact camera segment represented
seeding. If consumers had a good experience
with brand X they might very likely migrate up
that brand's camera food chain to their travel
zoom, or perhaps even a DSLR. What migration
path exists for smart phone owners, other than
the next iteration of slightly smarter smart phone?
None of this happened overnight, and yet the
camera brand sages and soothsayers were
caught napping. The very part of the business
that they deemed marginal disappeared from
view, likely never to return and with that
eventuality causing a massive disruption to
previously reliable value chains. Tears flow,
crocodile tears perhaps?
Contrast this with the foresight demonstrated
by companies in the information technology
space. In an era where consumers have chosen
to lengthen personal computer replacement
cycles, seeing little compelling reasons to update
devices, Apple strides forward with virtual
impunity creating new product categories and
inventing desirable devices to occupy them.
Consumers respond with alacrity, following the
pied piper's every move with credit cards at
the ready.
Microsoft is another fine example. With the GFC
looming, rather than retreat to the hills with its
massive war chest intact the company doubled
its already gargantuan R&D budget and has
maintained this momentum through the crisis,
recognising that innovation defines new
categories, perceived value makes them
sustainable and consumer communication is
key to making the whole thing work.
Camera companies take note, watch and learn
- but quickly.
Carpe diem.H
TS
tim@fllmagazine.com
feedback@fllmagazine.com
8 | Issue 27 | November 2013
Serious performance for serious photographers.
SP 70-200 and SP 24-70
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Meet the fully featured high resolution lenses you’ve
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PHOTOGRAPHER
DFTHEVEAR
TONY BRIDGE
Waihora/ Lake Ellesmere, to the west. Fujifilm
X-Pro 1 with 18-55 lens. © Tony Bridge
A question
of line
All of us, as we confront the learning required
to continue our adventure with photography,
will pass the same inns on the road, where we
need to stop and learn and achieve a degree of
mastery for the way ahead. Composition and
visual design are one of those.
Composition is, put simply, the arrangement of
subject material within the frame in a way which
expounds and expands our narrative. By
judicious choice of place, arrangement and
moment, we weave a story, we make a point,
we show our viewpoint, and we give our take
on what is before us.
Visual design is not the same thing. Mastery of
this aspect of picture-making is both simple and
complex. The first part of this particular room
of infinite curiosities is learning to identify the
components and their relationships. We learn
to identify such things as line, weight, tone, and
scale. We learn to differentiate between shape
and form - a function of light relative to a
surface. In the beginning of our visual education.
we start by identifying the labels and becoming
conscious of them. We learn to step back from
our subject and begin to see it objectively. We
learn to disconnect ourselves from emotion and
moment, and to consider the elements within
our picture space as aspects of an exercise in
construction. That is the easy part.
It is when we begin to consider the significance
of those elements that things become more
complex, for we need to become conscious of
their psychological importance, of the subliminal
effect they have upon both us and the reader
of our photograph, for each component of visual
design has a story to tell and an effect upon the
mood of the work and the feeling it will engender
in a viewer.
Perhaps the simplest of these, and yet one of
the most powerful, is the line. Lines are part of
our lives, keynotes in a visual world. There are
vertical lines, and dynamic lines and oblique or
diagonal lines - not the same thing. There are
curving lines and s-lines, which bring a different ►
10 | Issue 27 | November 2013
energy to an image. Each has its own power,
and each will play an instrument of power in
the orchestra which is our image. To be a
successful conductor, we need to be able to
play each instrument and grasp at a deep level
just what power and impact it has.
The horizontal line is one of the most powerful,
and the key to understanding it lies in the
adjective horizontal, which is derived from the
word horizon. We all rely on the horizon to give
us a sense of place and location, and for that
reason, such lines denote rest and being at
peace. A horizontal line has no further to fall.
It is a line at rest. Note too that we all spend
approximately 1/3 of our lives in a horizontal
position, namely sleeping. Horizontal is thus
energy slowed to a standstill, which implies
calm, peace and rest. If the mood of our image
is one of peace and tranquillity, then giving
significance to the horizon will help achieve that.
One day I was helping guide two photographic
tourists on Banks Peninsula, in the South Island
of New Zealand. It was a pristine morning, with
no clouds or wind, when we stopped by the
shores of Lake Ellesmere, one of those glorious
days where the air holds its breath and all is
well with the world. After sharing stories about
the place, I set my clients free to explore and
make photographs. I couldn't help myself. As I
looked across the lake, I saw the thin-lipped line
of the horizon, the monochromatic blue and
the subtle shape of the Southern Alps showing
dimly through the haze.
It was a world at peace and at rest. ■
TB
tony@fllmagazine.com
www.thistonybridge.com
www.hurunuiproject.com
fllfar PHOTOGRAPHERS AND AFICIONADOS | 11
Jane
USSHER
COAST
A New Zealand Journey
Jane Ussher, one of New Zealand's foremost
portrait photographers, honed her ability to
work collaboratively with writers during her 29
years as chief photographer for the New Zealand
Listener magazine. During that time she
photographed a wonderful cast of characters
from the music, film and television industries,
as well as politicians, diplomats, scholars
and scoundrels.
Today, Jane works as a freelance photographer
shooting for leading magazines and for Oxfam
NZ, documenting relief work in the Pacific Islands.
Her work has featured in many books, including
Still Life, which documented the historic
Antarctic huts of Scott and Shackleton. In 2009,
she was made a Member of the New Zealand
Order of Merit, for services to photography.
This feature casts an eye over her latest book,
COAST - A New Zealand Journey, which she
worked alongside accomplished writer Bruce
Ansley to create. This is his sixth book.
We asked Bruce for his thoughts on the project
and these follow this article. ►
^ ^ \
Long the first step for an ambitious sailor, P Class yachts still feature at regattas around the country.
Here they wait for the starting guns at Kohimarama Yacht Club championship. © Jane Ussher
12 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
/ii/or PHOTOGRAPHERS AND AFICIONADOS | 13
Coast is an unsentimental but nonetheless loving
look at New Zealand's long, complex and varied
coastline and celebrates the diversity of the
landscape and the people who populate it.
Together, Jane and Bruce travelled by car for a
series of epic road trips over a two year period
to visit the places and to meet the people who
feature in the book.
In a sense, we're all coastal dwellers in this
country. We inhabit two long relatively thin
landmasses set between a small perilous sea
and a much larger, slightly more benevolent
ocean. We're subject to the whim and fancy of
turbulent winds and complex weather systems
delivered by the waters surrounding us. Hardly
anywhere is more than a couple of hours drive
from the shore, so it's not surprising that as a
nation we identify so strongly with our coastline.
We're drawn to it, in all seasons, for recreation,
sustenance and commerce.
Although working as a team, Jane and Bruce
developed individual responses to the people
and places they visited, working on two levels,
and the book reflects this as separate
understandings expressed in prose and pictures,
complimentary but not inseparable. It's a strong
collaboration, avoiding the feeling of being so
contrived that the words must match the images.
Jane speaks of making a conscious decision not
to photograph anything or anyone out of a sense
of obligation, feeling no pressure to document
any experience other than her own for the book.
'I had to feel that there was an image that I
wanted to take before the camera came out of
the bag. Every image is a considered response
to what I was seeing and feeling, nothing was
shot from the hip or spontaneously.'
Reflecting on her use of the 31 megapixel
Hasselblad H4D camera, she observes, 'For me,
it's a camera that you unpack and then repack
after each use. A lot of the time its on a tripod,
quite a laborious way but the way I've always
worked, even with my 6x6 film based
Hasselblad cameras.'
In her transition to digital photography, during
the last two years of her tenure at the NZ
Listener Magazine, she came under increasing
pressure to migrate from her 6x6 Hasselblad to
digital capture, and a Canon EOS 5D was
provided for the purpose. While she enjoyed
the flexibility, the high ISO performance, and
multi-point autofocus, the overwhelming
conclusion was that she was not playing to
her strengths.
'I missed the rigor of medium format, feeling
that this somehow contributed to a lack of
control in the whole process.'
Clearly not a fan of the 'run and gun' approach
favoured by some photojournalists, her ultimate
transition to digital came in the form of the H4D
she uses today. Most of Coast was shot on three
lenses, the 100mm f2.2 for many of the portraits,
and the 35mm and 50mm optics for the
landscape work.
Unlike many photographers, restless and
impatient for the next model, the step up, Jane
is quite content with her current kit. ►
Waipu Cove, summer. © Jane Ussher
14 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
'One of the things that I loved about shooting
on film was the fact that I used colour negative
rather than transparency emulsions. I enjoyed
the subdued colour palette and the ease of push
processing. My 31 megapixel Hasselblad offers
a similar 'feel' and 'look' - exactly the look that
I'm comfortable with. It's the perfect machine
for what I do.'
We couldn't agree more, it's always impressive
to encounter a photographer at one with their
equipment, and these images demonstrate that
eloquently while speaking quietly but assertively
to the vision that created them. ■
TS
COAST - A New Zealand Journey
Bruce Ansley and Jane Ussher
Godwit/ Random House NZ
Released 1 November 2013
Learn more here.
16 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
Thoughts on Coast
I have always lived within sight and sound of
the coast and at one stage made my living from
it as a commercial fisherman. I have fished on
it, farmed beside it, revelled in it as a surf
lifesaving club member, surfer and swimmer,
taken all my holidays on it, sailed around almost
all of it, lived as close to it as I could get and
loved it. The subject was near and dear to me
and, of course, I was to work with one of New
Zealand's best photographers, Jane Ussher. Jane
and I worked together on the NZ Listener for
more than 22 years before I left in 2006 to
become a fulltime author. So I leapt at the
opportunity to write this book.
I have poked around New Zealand's coast from
South Cape on Stewart Island to North Cape,
from east to west. Jane has spent her life
photographing New Zealanders and the country
they live in. We thought we knew the coast. We
were wrong.
New Zealand has between 15,000km and
17,000km of coast depending on whose estimate
of its length you prefer. That makes our coastline
either ninth or seventeenth longest in the world.
How were we to approach such a task?
We decided on this solution: We would explore
the coast through the eyes of people who have
been shaped by it, and in turn have left
something of themselves on the seaboard. I
wanted to reflect their sense of wonder in this
book: the unexplored and the unexpected and
the out-of-the-way, all photographed with Jane's
eye for the unique.
When Jane and I worked together in the past
we developed a synergy which made flexible
creatures of plans. We saw opportunities and
made the best of them. For Coast, we started
with a plan but came to rely more on serendipity,
the chance encounter, and that approach served
us very well. For example, we thought the tiny
former fishing village of Cosy Nook near Riverton
was abandoned until Jane saw a face at a
window. We spent an afternoon and the
following morning with Bob Beckford, an erudite
recluse, and he became one of the many
highlights of the book.
We divided the coastline into ten parts, five for
each island, and tackled them each in turn, flying
into the nearest airport, renting a car, and living
in motels for as long as it took. After working
together for so long we have a deep respect for
each other's abilities and our convention was
to never question the other's choice. In fact,
we'd decided that if the text and photographs
didn't interlock, too bad. In the event, they fitted
together very well.
Both Jane and I have long and happy marriages
and otherwise living and working together 24/7
for quite long periods might have been daunting.
We were friends when we started, good friends
when we finished.*
Bruce Ansley
October 2013
Author of Coast, Bruce Ansley
/ii/or PHOTOGRAPHERS AND AFICIONADOS | 17
'The number of perfect beaches exceeds any Pacific Island idyll. They
lie around every corner, from Auckland city's shallow edges to Waiheke
Island's fair sands to the long northern bays. Island names ring mellow
as poetry: Motutapu Motuihe Pakihi Ponui Pakatoa Tiritiri Matangi
Rakino Rotoroa. Rangitoto's cone lies in the national treasury; as vivid as
Taranaki or Aoraki.' - Bruce Ansley
18 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
Early morning in summer ; Martins Bay. © Jane Ussher
fllfar PHOTOGRAPHERS AND AFICIONADOS | 19
4 Long-time campground friends Jocky Bishop
and Joan McAneaney get into happy hour in
the Martins Bay camping ground. Behind is
Joan's grand-daughter Hailee. © Jane Ussher
► ► Following double page spread: Sunset,
Miranda. A huge cloud of god wits rises from
the salt marshes. © Jane Ussher
20 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
fllfar PHOTOGRAPHERS AND AFICIONADOS | 21
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Coromandel harbour * where the British Navy ship HMS Coromandel called in 1820 to
load kauri spars and gave the harbour ; and the peninsula; its name. © Jane Ussher
'A little more than two hours by road from New Zealand's biggest city;
so close that on any fine day Aucklanders can see it, lies a different
world, full of rainforests, beaches, history, everything but people
- permanent residents at least. This paradise is the Coromandel
Peninsula, officially 85 kilometres long and 40 wide, almost everyone
living along the Pacific coast on one side or beside the Hauraki Gulf and
the Firth of Thames on the other.'- Bruce Ansley
► ► Following double page spread: Looking along a wild seascape from Te Horn near the
long-vanished port of Awanui. East Cape frowns in the background. © Jane Ussher
24 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
fllfar PHOTOGRAPHERS AND AFICIONADOS | 25
^ Fishing shack at Te Horn. Built from driftwood', old iron, fishing line and anything the beach gives up, the
shacks yet survive winds that send gobs of foam racing up the beach like frightened animals. © Jane Ussher
► Gordon Thommo Thompson and his son Leroy, the old shipping building's
current inhabitants and possibly its saviors too. © Jane Ussher
► ► Following double page spread: Ross Martin (left) with his brother and sister-in-law
Morris and Barbara, with dogs on the Napier foreshore. © Jane Ussher
28 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
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4 Barry Flint with young friend Noah Gosling, inside
his organic bach at Herbertville. © Jane Ussher
^ Tom and Seth Forbes, twins and patrolling lifeguards
at the Paekakariki Beach surf club. © Jane Ussher
fllfar PHOTOGRAPHERS AND AFICIONADOS | 33
^ Crushed cool at the Ngokowou cool mine. © Jane Ussher
► Daniel Mullany, cool crusher. © Jane Ussher
34 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
Daniel HallShayne Darling and Greg Mason,
the Honey Dew 2's crew. © Jane Ussher
36 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
fllfar PHOTOGRAPHERS AND AFICIONADOS | 37
► Colin Gavon, captain, fisherman, explorer ;
jeweller ; gold prospector, historian.
© Jane Ussher
38 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
f 11 for PHOTOGRAPHERS AND AFICIONADOS | 39
^ Sam Gibbs , up-and-coming salmon fisherman. © Jane Ussher
► ► Following double page spread: Evening light glimmers from the sea at Kaikoura, edged
by the snow-tipped mountains of the Seaward Kaikoura range. © Jane Ussher
42 | Issue 27 | November 2013
Portfolio :: Jane Ussher:: COAST - A New Zealand Journey
At the base of Farewell Spit near Puponga, Tania Anderton and Axel Lentz collecting weed
and growth that locals call sea compost , much in demand for gardens. © Jane Ussher
fllfar PHOTOGRAPHERS AND AFICIONADOS | 43
SEEING THE FULL STORY
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Tony
KEARNEY
Closer
Tony Kearney takes objects he has found,
collected and loves, places them on his kitchen
table, or on the shelves surrounding it, waiting
until they're bathed in late afternoon light
before transforming them into visual metaphors.
Using vintage film cameras and carefully
controlling shallow depth of field and strong
contrast, he then brings these images to life with
traditional dark room film processing techniques.
Tony grew up in Gisborne on the east coast of
New Zealand. Somewhere around the age of
ten, his parents gave him a Kodak Instamatic
which he took everywhere, especially on
holidays up the coast. He clearly recalls sending
the film cartridges off in cloth bags with their
return address tags and waiting two weeks for
fat envelopes with 24 square colour images to
'rock up' by return post.
The school he went to was resource poor and
didn't offer Art as a subject but Tony was lucky
to have a teacher who was mad keen on
photography and had managed to put together
a darkroom under a staircase for the students
to use. His work stringing tennis racquets for
60 cents an hour helped Tony to scrimp and
save enough money to buy a secondhand
camera - an Asahi Pentax with a clip on light
meter - and he learned to develop film and
print the images.
'I'd hunt out any books I could find on
photography at the local library and learnt to
do things like bas relief and reticulation and
when I didn't have a negative that I wanted to
print, I'd play with photograms.'
At eighteen he moved to Wellington to study
Industrial Design at Wellington Polytechnic,
having submitted a folio that included some of
his photography. It was a four year full time
course, 26 contact hours a week, 4 of those
studying photography and in particular studio
and darkroom photography. He loved it.
'I got to play with large format cameras and
even learnt the art of processing my own colour
transparencies where half way through the
process you had to take the film out of the
development tank and flash it with light to get
the full reversal. I bought myself an Olympus
OM-1 and slowly built up a collection of lenses.
I still have, and use, that camera.'
At the end of the polytechnic course he moved
to Adelaide, Australia, where two of his ►
48 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Flight. Pressed metal wind up plane. Mamiya C330 with 55mm Sekor lens ,
f4.5, bellows extended, Kodak T-MAX100 film. © Tony Kearney
fllfar PHOTOGRAPHERS AND AFICIONADOS | 49
brothers were living, as there wasn't that much
work in his chosen field of Product Design
happening in his native New Zealand. He spent
five years working for manufacturers, building
design skills before packing up and travelling to
North America and Europe with his partner
Sandra, on the road with backpacks and tent
for 7 months. Returning to Adelaide he co¬
founded Designmakers Pty Ltd, a Product Design
Consultancy that has now been providing design
services for more than 25 years. Photography
remained an interest but career needs would
dominate. He takes up the story:
'Since leaving polytech my photography had
reverted to being mainly about the recording
of special events and travel. When I went on
holiday, I'd have the camera, when I went to a
party the camera would be there. It has only
been in the last 10 years,and more particularly
in the last four years, that I've rediscovered my
passion for photography.
It started with me wanting to record the
character of the place where I live, Port Adelaide,
before it changed irreversibly at the hands of
incompetent developers who were supported
by an equally incompetent State Government.
We had moved to Port Adelaide in 2001 because
of its character, grit, scale, maritime heritage,
community and potential. We'd bought an
empty shell inside a converted warehouse and
had built our apartment on the top floor. Then
one day the government announced that a
developer had been given sole rites to develop
50 hectares of waterfront land to turn it into
housing. The only problem was the land currently
contained five historic boatyard businesses that
had been in the area for 170 years, a century
old yacht club, wharf-sheds, brick and iron
industrial buildings, yacht moorings, tugs, fishing
boats, all of which made up a large chunk of the
character that attracted people to the Port in
the first place. So I, along with others, became
an activist in support of keeping this precious
character in the Port. For my part I dug out the
cameras and every opportunity I got I'd be inside
the boatyards recording their texture, people
and honest beauty and putting them out there
on social media. I was lucky to get access as I
had been leasing one of the old boat sheds
where, with a friend, I built and restored wooden
boats as a bit of a hobby, so most of the owners
knew me and those that didn't that well, soon
did. For two years we fought off the demolitions
but slowly and surely the government destroyed
all of the infrastructure in the name of
development. That was four years ago, since
then the developers have been given the boot
after only completing 20% of the planned stages
and the land on which the boatyards once sat
still lies empty, with just their slabs and slipway
rails remaining. My first exhibition RUST was
produced in response to this and in an effort to
get the story out there.
So I got back into photography. I started looking
around for old film cameras, the older and more
manual the better. I started putting work
forward for exhibitions, one piece at first and
then on to two person shows which led to
curating and participating in group contemporary
art shows, http://www.rustsalttar.com
As a product designer I've always had objects
around me, partly for aesthetic inspiration,
partly to understand how things work and partly
because I see these beautiful objects out there
that have been designed by unknown designers
and I have a wish to preserve them. So at home
in our apartment we have a back room that I
call my shed. It is lined with shelves and on these
shelves sit the results of having spent far too
much time rummaging through boxes at trash
and treasures or flea markets. I don't do it much
these days, one because the Internet and eBay
have reduced my chances of finding something
that I can afford and two because we haven't
the room. If I do collect anything it's old cameras
and photographic equipment, not to sit on
shelves but to use.
The series Closer started with bringing out and
dusting off some of my collected treasures, ►
50 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Hull. Pond yacht hull on workbench. Mamiya C330 with 55mm Sekor lens,
f4.5, bellows extended, Kodak T-MAX100 film. © Tony Kearney
/li/or PHOTOGRAPHERS AND AFICIONADOS | 51
particularly on those cold dull days, and placing
them on our old, burnished-through-wear-and-
abuse huon pine kitchen table and letting them
catch the last of the late afternoon light through
four adjacent sash windows. Generally I'd use
my Mamiya C330 with a 55mm Sekor wide angle
lens, crank out the bellows, open the aperture
to the full f4.5 and take long exposures with the
hope of bringing new life to old objects.
Sometimes I use an old Hasselblad 500C with
standard 80mm lens and extension rings and
on rare occasions I'd break out the 4x5 Graflex
Speed Graphic with the astonishingly heavy f2.5
178mm Aero Ektar which was once used for
night time aerial photography during the second
world war. I've used Kodak T-MAX 100 film since
returning to black and white and have developed
a level of comfort with it, knowing what it does
at different temperatures, how it reacts to
pushing and pulling, how to print it in the
darkroom or get the most out of it when
scanned. So once I've finished playing on the
kitchen table I take the film into the laundry
and set the chemicals up to the desired temp
using ice in summer or warm water in winter,
develop the films 3-up in Kodak D76, then stop
bath, then fixer, then wash and finish off with
a few drops of photo flow in filtered water. Then
it's into the shower to be pegged up to dry.
As an aside, the wet plate portrait image of me
used on the contents page was taken by Will
Wilson, a Navajo artist from Santa Fe who visited
Adelaide earlier this year to run a two day
workshop on wet plate photography with the
University of South Australia. Life changing. I
now have found myself an 1880s 10x8 wet plate
camera with 4 brass lenses added to my
collection of usable cameras and intend to use
it for portraiture and for still life studies similar
to those in this series.
My photography continues to be a part time
passion, I have my design business as my
weekday occupation leaving me with nights and
weekends to indulge my passion. I still describe
myself as an amateur, mainly because the word
conveys the feeling that I'm doing it for the love
of it.'
Work from Closer has made it through to the
final jury rounds of the International Fine Art
Photography Award in Paris. Tony's passion for
objects and images has combined with his well
honed design skills has to produce a compelling
series of images which we're delighted to bring
to you in this issue of the magazine.
Kudos Tony, and thanks for sharing this series,
and your story with us. ■
TS
http://www.atomicartcompany.com
52 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Empire State. DIY paper model from book by Alan Rose. Mamiya C330 with 55mm
Sekor lens, f4.5, bellows extended, Kodak T-MAX100 film. © Tony Kearney
fllfar PHOTOGRAPHERS AND AFICIONADOS | 53
Ducks. Three rubber ducks made by Playmate. Mamiya C330 with 55mm Sekor
lens , f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
DCW. Miniature wooden Eames Dining Chair. Mamiya C330 with 55mm Sekor
Iens,f4.5, bellows extended, Kodak T-MAX 100 film. © Tony Kearney
54 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
fllfar PHOTOGRAPHERS AND AFICIONADOS | 55
ACE. Wooden type blocks in tray. Mamiya C330 with 55mm Sekor lens,
f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
56 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Agfa. Old aluminium 35mm film canisters. Speed Graphic 4x5 with 178mm f2.5
Aero Ektar lens , 6x6 roll film back , Kodak T-MAX 100 film. © Tony Kearney
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 57
Bus 1. Japanese friction toy tin bus. Mamiya C330 with 55mm Sekor lens,
f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
58 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Bus 2. American pressed metal bus. Mamiya C330 with 55mm Sekor lens,
f4.5, bellows extendedKodak T-MAX 100 film. © Tony Kearney
7 still describe myself as an amateur; mainly because the word conveys
the feeling that I'm doing it for the love of it.'
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 59
Contex. Danish bakelite calculator. Mamiya C330 with 55mm Sekor lens,
f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
60 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
My valentine. Valentine typewriter made by Olivetti. Mamiya C330 with 55mm
Sekor lens, f4.5, bellows extendedKodak T-MAX 100 film. © Tony Kearney
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 61
Vulcan. Bakelite, chrome and ceramic toaster. Mamiya C330 with 55mm Sekor
lens; f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
'So I got back into photography. I started looking around for
old film cameras, the older and more manual the better.'
62 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Iron. Ceramic and bakelite iron made by HMV. Mamiya C330 with 55mm Sekor
lens, f4.5, bellows extended, Kodak T-MAX 100 film. © Tony Kearney
fllfar PHOTOGRAPHERS AND AFICIONADOS | 63
Roadsters. Bakelite roadsters made by Winna. Mamiya C330 with 55mm Sekor
lens , f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
64 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
I
Wheels. Bakelite roadster by Codeg. Speed Graphic 4x5 with 178mm f2.5 Aero
Ektar lens, 6x6 roll film back; Kodak T-MAX 100 film. © Tony Kearney
fllfar PHOTOGRAPHERS AND AFICIONADOS | 65
The ponies. Bakelite horse racing game. Mamiya C330 with 55mm Sekor lens,
f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
66 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Sir Malcolm. Plastic toy of Sir Malcolm Campbell's Bluebird. Mamiya C330 with 55mm
Sekor lens, f4.5, bellows extended ' Kodak T-MAX 100 film. © Tony Kearney
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 67
SWA. 1954 Hosselblod Supreme Wide Angle. Momiyo C330 with 55mm Sekor
lens , f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
68 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Polaroid. Polaroid 160 Land Camera. Hasselblad 500C with 80mm lens,
f2.8, extension tube ; Kodak T-MAX 100 film. © Tony Kearney
fllfar PHOTOGRAPHERS AND AFICIONADOS | 69
Nuts. Walnuts in a carved African bowl. Mamiya C330 with 55mm Sekor lens,
f4.5bellows extendedKodak T-MAX100 film. © Tony Kearney
Potions. Vintage glass measures. Hasselblad 500C with 80mm lens ,
f2.8, extension tube ; Kodak Tmax 100 film. © Tony Kearney
Portfolio :: Tony Kearney :: Closer
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 71
70 | Issue 27 | November 2013
Size 6. Child's shoe lasts. Mamiya C330 with 55mm Sekor lens, f4.5,
bellows extendedKodak T-MAX100 film. © Tony Kearney
72 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Globe. Tin pencil sharpeners. Mamiya C330 with 55mm Sekor lens ,
f4.5, bellows extendedKodak T-MAX 100 film. © Tony Kearney
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 73
Baby. Graflex Baby Speed Graphic. Mamiya C330 with 55mm Sekor lens,
f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
74 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
Chopper. American pressed aluminium helicopter. Mamiya C330 with 55mm
Sekor lens, f4.5, bellows extended, Kodak T-MAX 100 film. © Tony Kearney
'...I've always had objects around me, partly for aesthetic inspiration,
partly to understand how things work and partly because I see these
beautiful objects out there that have been designed by unknown
designers and I have a wish to preserve them.'
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 75
Pegged. Miniature pegs on scale model of Hills Hoist. Mamiya C330 with 55mm
Sekor lens; f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
Remedies. Danish pill box. Hassetblad 500C with 80mm lens, f2.8,
extension tube, Kodak T-MAX 100 film. © Tony Kearney
Portfolio :: Tony Kearney :: Closer
fllfar PHOTOGRAPHERS AND AFICIONADOS | 77
76 | Issue 27 | November 2013
Lost. Cost iron baby's christening boot lost. Momiyo C330 with 55mm Sekor
lens , f4.5, bellows extendedKodak T-MAX100 film. © Tony Kearney
78 | Issue 27 | November 2013
Portfolio :: Tony Kearney :: Closer
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Dylan
FOX
Watching the skies
Dylan Fox is an award-winning landscape
photographer based in Perth, Western Australia.
His work is sold online as limited edition prints
on silver halide Fujiflex Crystal Archive material.
This is his artist statement:
'I have always loved to have a camera in my
hands for as long as I can remember. On family
trips I can recall racing through rolls of film on
my mum's Canon SLR, capturing nothing in
particular and using up excessive amounts of
film in the process. Having always loved to travel
and witness natures finest moments, it was only
a matter of time before I started capturing those
moments in the form of photographs. It was on
a year 12 photography camp where we were
assigned the task of capturing a few landscape
images for our portfolios. Ever since that first
sunrise shoot on Rottnest Island I have been
hooked. Needless to say I spent the rest of that
trip cycling the Island in search of my next
landscape photograph.
Perth has provided me with an amazing
coastline in which to learn and develop my
skills as a photographer. The beaches along
the West Australian coast have played a major
part in my life and a significant role in my
photographic career. ^
(
80 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'Crush', Cottesloe, Western Australia. Canon EOS 5D MkU with 16-35mm II L lens. © Dylan Fox Photography
I had never successfully captured a decent lightning photograph after a number of attempts, often due to
pouring rain. At about 11pm on this particular night the rain held off just long enough to capture this. As I
got back to my car it started pouring rain.
fllfar PHOTOGRAPHERS AND AFICIONADOS | 81
My eyes are now forever watching the skies
and keeping an eye on local weather maps in
hope of capturing something special. The
satisfaction of capturing an amazing location
under the perfect light is a feeling I strive for
constantly. When all the elements come
together it makes for a moment in time that I
may never forget. Capturing those moments
allows me to show people what they may
otherwise have missed.
My aim is always to capture photographs that
provoke emotional connections from those that
view them. The photograph must tell a story
and truly captivate those that see it/
fll: Welcome to fll Dylan, good to have
you here.
DF: It is a pleasure to be here, thanks for
having me!
fll: To kick off, tell us a bit about yourself -
your other interests, goals, ambitions etc
DF: Landscape photography is my greatest
passion and seems to always be on my mind in
one way or another, however a few other hobbies
help occupy my time. For as long as I can
remember I have been involved in skateboarding.
More so in my high school years, but I still love
to get out with a few of my mates for a roll. I
actually started using an SLR when I was in high
school to photograph my mates skating.
The love for photography I guess collided with
my love for travel and seeing new natural places.
I have been very fortunate to have done a fair
amount of international travel already, to places
like the USA and Europe. One of my other
interests is cars, particularly old Australian and
American muscle cars.
fll: Are you full time in photography, if not,
what do you do to support the habit and what's
the plan going forward?
DF: I am a full-time photographer. When I'm
not shooting landscapes I am filling my days and
paying the bills with some commercial work.
I do get to spend part of each day working on
the landscapes - either shooting, processing or
playing some part in the business side of things.
The goal is, and has been since 2007, to open
my own gallery. Having my own gallery is
something that really excites me and is
something I have been working towards for
years. Realistically it's still years away but it was
never going to be easy!
fll: Many of your images on your website were
taken in the USA, tell us about that trip - or
those trips - were they purely for photography?
DF: My mother is American, so I have dual-
citizenship making it easy to come and go as I
please. I have visited the states many times to
visit family and more and more to take
photographs. Any USA work on my site is from
the last few trips. None of the trips have been
purely organised around photography, however
this years trip did see my girlfriend and I do a
lot of traveling and visit some stunning locations.
We spent 5 weeks over there and a lot of that
time was spent shooting, and resulted in my
biggest collection of new photographs. ►
'Blue Moon', Ho ml in Lake, Michigan, USA. Canon
EOS 5D Mkii with 24-10Smm L lens. © Dylan Fox
Photography. Full moon at dusk over a pair of jetties
on a glassy Hamlin Lake.
82 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
fll: On a scale of 1 to 10 - with 10 being an
absolute gear freak - what's your approach to
the equipment you use?
DF: I guess I am around a 7. The reality is, the
best camera is the one you have with you but
who wouldn't like the latest and greatest gear?
I do like to have the best equipment but as we
all know it isn't always easy on the wallet. As
far as keeping up with the latest gear and the
tech specs, I really don't care too much. I have
never cared for the tech side of a camera, so
long as it puts out great files I am happy. I almost
always shoot with just my 5D Mkll and 16-35mm
lens attached to a tripod.
fll: What's on your equipment shopping list
right now?
DF: I would love a Nikon D800E with some Zeiss
glass on it but am kind of sitting and waiting for
Canon to release something similar so I don't
have to do a complete kit change. Just in that
awkward spot, do I buy a Zeiss 15mm for a
Canon and hope they release a body I am
interested in at the right price?
fll: Do you travel light or travel heavy-what's
in your camera bag?
DF: I guess I travel kind of heavy. Mainly because
of the 'what if..' factor I think. I carry my 5D Mkll,
16-35mm II, 24-105mm, and an old longer lens
that really has no need to be in my bag as it is
hopeless! I carry spare batteries and cards as
well as some cleaning products. I do have a set
of Lee graduated filters, however I haven't used
them in years. I have a Speedlight in there just
in case I take some photos of friends and family.
fll: What's the single most important camera
accessory in that bag?
DF: Other than a lens or my tripod it would have
to be a remote shutter release. I seem to go
through them pretty quick and am on my third
or fourth this year, but trying to capture wave
movement for at the beach for example is very
tricky to time without one!
fll: Which people do you consider have been
either influences or mentors on your
photography?
DF: The first landscape photographs I ever saw
were by Christian Fletcher. I thought it was so
cool seeing locations I was familiar with looking
so stunning! Christian was also a great help
when I was finding my feet. Always willing to
answer questions and help out where possible.
I don't spend much time on photography
websites but I do like to keep an eye on what
Marc Adamus is up to.
My Facebook does feed through plenty of
photographers work often showing me really
stunning landscapes from all over the world. If
I'm off to a new location I really try not to look
at other peoples work - preferring to go there
with fresh eyes.
fll: Where do you find inspiration?
DF: I'm inspired by a need to capture my next
photograph, one that I am truly happy with. If
I don't get out shooting for a month or two I
start to really get the itch. I find great satisfaction
in the whole process of searching, finding,
capturing and processing a shot, but seeing it
finished and presented on a wall is always so
satisfying. I think it is just a drive that most
photographers have to progress and get that
next photograph. ►
'Sugarloaf Sensations', Cape Naturaliste, Western
Australia. Canon EOS 5D Mkll with 17-40mm L lens.
© Dylan Fox Photography. A composition I had
in mind for about a year prior to returning in an
attempt to avoid the common panoramic view of
this stunning location.
84 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
fll: Are you a RAW shooter, and what's your
typical post production work flow?
DF: I am indeed. I do my RAW conversion in
Lightroom where I adjust white balance, and
make minor contrast and saturation adjustments.
Then in Photoshop I just kind of play it by ear.
I just look at the shot and decide where the
colour needs adjusting or where it need to be
lighter or darker, often trying different ways of
achieving a similar result to see which method
works best for that image.
fll: Landscape photography can be a pretty
solitary pursuit. Do you travel and shoot alone
or go with others?
DF: I prefer to be alone, or at least the only
photographer - but I often bring my girlfriend
along. That's not to say I won't shoot with
others, but I just like to focus on what I am doing
rather than having a chat, or worrying about 'is
their composition better?' for example.
fll: If you were setting your pictures to music,
what would it be?
DF: I have used 'Welcome Home' by Radical
Face over a video of mine from my recent USA
trip, so maybe that. Something that helps reflect
that joy of being on the road and seeing new
places, as well as capturing the feeling of fantasy
I try to present in my work. Nothing too slow
and subtle, that's not how I feel when I am
shooting a beautiful landscape. It has to
be exciting!
fll: I noticed that you have a blog page on
your website, but you have yet to post anything
there. Why is that?
DF: When the new site went up I just couldn't
get the link to work correctly to my existing
blog, and a lot of the followers stayed on the
old blog so I didn't really want to make the
switch. The majority of people follow me on
Facebook, Google+ or Twitter these days
anyway, so the blog idea really has faded
compared to a Kew years back.
86 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'Morning Reflections', Horseshoe Bend, Arizona, USA. Canon EOS 5D Mkll with 16-35mm IIL lens. © Dylan Fox Photography.
The glowing canyon walls of Horseshoe Bend reflect off of the Colorado River at sunrise.
‘I have always loved to have a camera in
my hands for as long as I can remember.'
fll far PHOTOGRAPHERS AND AFICIONADOS | 87
fll: What's the best thing about being a
landscape shooter - and the worst?
DF: The best thing is that there is no direct client.
A lot of other genres of photography have a
direct end client that needs to be satisfied. I am
simply out there to satisfy myself and if other
people enjoy my work that is a bonus. I am just
doing something that I am passionate about.
The worst? There isn't much that bothers me
about it, other than waking up for sunrise during
the summer months. Those real early starts are
always a bit tough. If you wake to excellent
conditions however the early alarm is a small
price to pay!
fll: With a free ticket and two weeks to play
with, what would be your ultimate
photo destination?
DF: I am tempted to say the USA, even though
I have been before, simply because of the
diversity of landscapes all within rather close
proximity to each other. However after seeing
some of the work from a few mates who recently
visited Iceland, I do have to say that the place
looks like a photographers playground. I would
also love to photograph the Northern Lights
over some of the awesome scenery up there.
fll: Thanks Dylan. ■
TS
www.dylanfox.com.au
www.facebook.com/dylanfoxphotography
https://plus.google.com/117169183460275501289
'Luminesce', Burns Beach, Western Australia. Canon EOS 5D Mkll with 17-40mm L lens.
© Dylan Fox Photography
► ► Following double page spread: 'Dawn of The Dunes', Lancelin, Western Australia. Canon EOS 5D
Mkll with 16-35mm IIL lens. © Dylan Fox Photography. After capturing an idea I quite liked, I
returned to photograph at dawn as first light approached when a few stars were still visible.
88 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
fll far PHOTOGRAPHERS AND AFICIONADOS | 89
'Laguna MystiqueLaguna Beach, California , USA. Canon EOS 5D MkU with 16-35mm II L lens. © Dylan Fox Photography
Gloomy conditions along the rocky coastline of Laguna Beach made for a moody photograph.
92 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'Flow', Lesmurdie Falls, Western Australia. Canon EOS 5D MkU with 17-40mm L lens. © Dylan Fox Photography
f 11 far PHOTOGRAPHERS AND AFICIONADOS | 93
94 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
^ 'Run Away', Geographe Bay, Quindalup. Canon EOS 5D
Mkll with 24-10Smm L lens. © Dylan Fox Photography
Quindalup Boat Ramps at sunrise on the calmest
ocean water I have ever seen.
4 'Sky and Sea', Indian Ocean, Western Australia.
Canon EOS 5D Mkll with 17-40mm L lens. © Dylan
Fox Photography. I captured these interesting cloud
formations off the back of a boat on my way over
to Rottnest Island.
fllfar PHOTOGRAPHERS AND AFICIONADOS | 95
'Old Mote', Chittering, Western Austrolio. Canon EOS 5D MkU with 17-40mm L lens. © Dylan Fox Photography
96 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'The Other World', Nambung National Park, Western Australia. Canon EOS 5D MkU with 16-35mm II L lens.
© Dylan Fox Photography
fllfar PHOTOGRAPHERS AND AFICIONADOS | 97
'Mount Hood', Mount Hood, Oregon, USA. Canon EOS 5D MkU with 16-35mm II L-series © Dylan Fox Photography
98 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'Mystic Dream', Noble Falls, Western Australia. Canon EOS 5D MkU with 17-40mm L lens. © Dylan Fox Photography
fllfar PHOTOGRAPHERS AND AFICIONADOS | 99
'The Reword', Burns Beach, Western Australia.
Canon EOS 5D MkU with 17-40mm L lens.
© Dylan Fox Photography. A composition I had
captured previously however set it up again as
the sunset looked far more promising.
The lightning was pure luck!
'My eyes are now forever watching the skies and keeping an eye
on local weather maps in hope of capturing something special.'
100 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
fllfor PHOTOGRAPHERS AND AFICIONADOS | 101
'Golden Dunes', Wedge; Western Austrolio. Canon EOS 400D with 18-35mm lens. © Dylan Fox Photography
The sand dunes of Wedge Island glowing during sunset.
102 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'Flowers and Mountains', Rocky Mountains, Colorado, USA. Canon EOS 5D Mkll with 24-105mm L lens. © Dylan Fox
Photography. A lovely display of colour contrasted against a dark stormy sky above the Rocky Mountains.
fllfor PHOTOGRAPHERS AND AFICIONADOS | 103
104 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
4 'Sounds That Soothe', Elowah Falls, Oregon,
USA. Canon EOS 5D Mkll with 16-35mm II L lens.
© Dylan Fox Photography. The first thing that
grabbed my attention as I approached Elowah
Falls was this abstract. Every time I look at it I
remember the sound of the water spray softly
landing on the rocks after a very long fall.
► ► Following double page spread: 'Come and Find
Me', Manistee National Forest, Michigan, USA.
Canon EOS 5D Mkll with 16-35mm II L lens.
© Dylan Fox Photography. The last light of
the day bursts through the forest trees in the
otherwise dark forest.
fllfor PHOTOGRAPHERS AND AFICIONADOS | 105
108 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'Whisper', Hamlin Lake, Michigan, USA. Canon EOS 5D Mkll with 24-10Smm L lens. © Dylan Fox Photography
Sitting near the lake I turned to see it had been engulfed by fog with the other side no long visible. I ran and
grabbed my gear in time to capture the conditions which soon disappeared.
fllfor PHOTOGRAPHERS AND AFICIONADOS | 109
Wm;
'Scorched', Chittering, Western Australia. Canon EOS 5D MkU with 24-105mm L lens. © Dylan Fox
Photography. A very rural Australian looking scene captured under the warm light of sunset.
110 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
fllfor PHOTOGRAPHERS AND AFICIONADOS | 111
'When I'm not shooting landscapes I am filling my days
and paying the bills with some commercial work.'
112 | Issue 27 | November 2013
Portfolio :: Dylan Fox :: Watching the skies
'MagnificenceSwon River * Western Australia. Canon EOS 5D Mkll with 24-105mm L lens. © Dylan Fox Photography
I watched this storm cell approach the coast over night and planned to shoot it in the morning. It was the most
intense sunrise I have seen as the sun's first rays lit up the storm front.
fllfor PHOTOGRAPHERS AND AFICIONADOS | 113
Delivering
Unparalleled Quality
to mankind
PR GEAR
PROFESSIONAL PHOTOGRAPHICS
DARRAN LEAL
We hired these dancers to model for us. We picked
an out of the way forest location and shot all sorts of
angles, using different lenses. Aperture Priority ; 400
ISO - handheld - with fill-flash, 24-70mm lens
@ 28mm, fS.6 at 1/125 sec. © Darran Leal
On location
PERU
Peru is a photographers dream, and for any
traveller, one of the greatest countries to explore
on this planet. It is steeped in history, with the
most famous inhabitants being the Inca people.
Today, their ancestors can still be seen working
in the fields producing crops that we take for
granted in our own modern homes.
Lima is the capital of Peru and has a lot to offer
photographers. Our groups have shot everything
from armoured personnel carriers with 50
calibre machine guns guarding the Presidential
Palace, to ancient cellars, where monks made
wine hundreds of years ago.
In my experience, Peru is generally safe.
However, Lima is the one location where I
suggest you are security conscious. This is not
so much for your personal safety, more for the
safety of your possessions, as professional pick
pockets and thieves operate. Tourists generally
look very different to the local people, so are
easy to identify and target. We generally spend
as little time here as possible, preferring to
concentrate on the many other photogenic
locations of this beautiful country.
The Inca Trail is an opportunity I generally
suggest that photographers miss. If you love
tough walking, this will be to your liking. But for
photography, your returns will be low for the
considerable time and effort expended.
Cusco is one of those names that most people
have heard of. It is a lovely city found around
3,400m above sea level. It has a very strong link
to the Inca Empire, with old streets, authentically
dressed locals and great markets. I highly
recommend that you spend at least a couple of
days here to acclimatise to the higher altitude.
Some people can experience breathing
difficulties in the thin air high in the Andes
Mountains. Local remedies are available on
arrival. I take it very slowly for the first couple
of days. I eat small meals and drink regularly to
keep hydrated. I can initially suffer a headache,
but this soon passes. Your experience may differ
so I suggest that you talk to your doctor before
departure if this might be an issue.
The Sacred Valley is a unique region that literally
was the 'bread basket' to the ancient Inca
Empire in this region. We have visited 900 year
old houses that are the same as when the Inca
Empire was strong - amazing, We focus on
special markets and the Inca ruins to maximise
a couple of days within our photo adventures. ►
116 | Issue 27 | November 2013
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Machu Picchu is simply a 'must do' location. We
generally spend around 3 days here, visiting the
park each day, sometimes twice. The short but
tough walk up to the Sun Gate is worth every
step. You can then say that you've walked 'some
of the Inca Trail'. Enjoy time here, especially in
foggy weather as you can shoot during windows
of opportunity, as the ruins appear and then
disappear. This is a top spot for hummingbirds.
Interestingly, tripods are not allowed here
without a permit.
While Peru offers many other small towns and
villages, Colca Canyon and in particular, the
drive to this location is outstanding. At one
point, you are 5,000m above sea level. The
plants and scenery are if as from another planet.
Walk slowly (and not far) and you can enjoy
breathtaking photo opportunities - literally!
The Andes Mountains run right through the
country. With peaks over 6,000m above sea
level and canyons deeper than America's Grand
Canyon, you have a lot of opportunities for
landscape photography. However, it is not easy
photography, so you need to work at the
available opportunities. Think snow capped
peaks and dark valleys.
Our Amazon visit in Peru was quite unique.
Macaws, monkeys, mushrooms, rainforest, gold,
you name it - we could shoot it. It is a very
'frontier' experience with limited services and
towns that simply grow out of the jungle. I love
everything including the bugs, and other creepy
crawlies and you should be prepared for such
encounters if you venture into the Amazon. Try
not to visit in the wet season as it may interfere
with your photo interests and create physical
complexities which prevent you from enjoying
your adventure.
On the subject of timing, the period between
June and August is the driest, but also represents
the peak tourist time. By now, my regular
readers would understand that I try, as often
as possible, to miss the busiest tourist periods.
The wet season is from December to March, so
I miss this as well, but the edge of seasons can
be great.
As you read this article, I am shooting with a
group in Peru. It's a stunning photo destination
to suit all interests. Their culture is so different
to ours and the colours and landscapes are so
unique. Combine this with nice and friendly
people and Peru must be one of the best
adventures in the world. ■
Enjoy shooting.
Darran Leal
darran@fllmagazine.com
www.worldphotoadventures.com.au
Darran Leal travels the world visiting most continents
each year. He is the owner of World Photo Adventures,
specialising in photo tours and workshops.
► While most were excited to shoot the ruins of
Macchu Pichu, I also took interest in the nature and
landscapes offered. Cloudless days are uncommon,
so I took full advantage. Program Mode, 200 ISO -
handheld -with fill-flash, 17-40mm lens at 20mm,
fll at 1/200 sec. © Darran Leal
118 | Issue 27 | November 2013
^ Macchu Picchu is a must do location in Peru. I love to shoot the Inca Ruins, and enjoy the other landscape and nature
shots on offer. Aperture Priority, 200 ISO - handheld - 24-70mm lens @ 28mm, fll at 1/180 sec. © Darran Leal
fll far PHOTOGRAPHERS AND AFICIONADOS | 119
Colours of Marlborough - backdrop for
knowledge sharing
The Colours of Marlborough will provide the
perfect backdrop for the 62nd Annual PSNZ
National Convention being held in Blenheim
next year.
From April 23 - 27, hundreds of photographers
are expected to descend into the Marlborough
Convention Centre in Blenheim seizing the
opportunity to enhance their knowledge and
passion for photography from some of Australia's
top professional photographers.
A stellar lineup of eight amazing and talented
guest photographers will share their own unique
photographic experiences through
presentations, workshops, tutorials and field
trips in a jam packed programme.
Two of Australia's most respected photographers
-Tony Hewitt G.M. Phot AIPP Hon FAIPP FNZIPP
and recently named the AIPP Photographer of
the Year and NZIPP's Overseas Photographer of
the Year, and Peter Eastway G.M. Phot AIPP Hon
FAIPP FNZIP will each deliver a personalised
presentation and lead a half day workshop
unique to their specific genre.
From New Zealand, leading digital artist,
professional photographer, educator and author
Tony Bridge Hon.FPSNZ, Hon.PSNZ, APSNZ will
lead two half day workshops on Street
Photography, while South Island resident
photographer Sally Mason, as well as presenting,
will lead a half day workshop on her highly
acclaimed style of 'creative photography using
in-camera techniques.'
Other specialists who will share their knowledge
and lead workshops include well known
PHOTOGRAPHIC SOCIETY OF NEW ZEALAND INC
Wellington photographer Simon Woolf FPSNZ,
AAIPP, SWPP, BPPA, M Photog; leading botanical
photographer and Nelson based Don Pittham
FPSNZ, ANPSNZ; John Boyd Hon.FPSNZ, Hon.
PSNZ, APSNZ, and Christopher Gladstone, Senior
Constable and Forensic Police Photographer.
As well as presentations, workshops and
tutorials the programme includes numerous
half day field trips on Friday 25 April and full
day field trips on Saturday, 26 April including
visits to Marlborough Sounds, Yealands Winery
and Welds Hill Station, the Kaikoura Albatross
Encounter and other attractive vineyards and
gardens in the Marlborough region.
Numbers will be limited on the field trips so it
definitely pays to register early to avoid
disappointment, especially for Simon Woolf's
Anakiwa Outward Bound field trip.
On Saturday night there's the 'C.R. Kennedy
Honours Banquet' - where guests get to let
their hair down and be recognised by their peers
when receiving any award or Honour bestowed
upon them.
Registration will be available online by mid-
November and there will be an 'Early Bird Fee'
for registrations received before 28 February
2014. Single day registration or a weekend special
fee is also available. The convention is open to
any photographer with a passion to learn and
grow their knowledge and practical techniques.
Forfull details about the convention, including
registration form click here or the PSNZ website.
Moira Blincoe, PSNZ Councillor for Publicity
120 | Issue 27 | November 2013
This PSNZ page is sponsored by fll Magazine.
BUT WAIT-
THERE'S MORE...
TONY BRIDGE
HOW TO FIND THE LINKS TO EXTRA
CONTENT IN/21 MAGAZINE
Each issue of fll Magazine contains dozens of
hotlinks, all expanding on our content and offering
an enhanced readership experience.
There are links to online content such as videos,
and to websites expanding on the ideas on offer
here. Passing your cursor over the link usually
highlights it.
Anywhere you see an image of a computer screen
contains a link, usually to video content.
There are links highlighted grey within articles which
may provide further explanation or take you to a
photographer's website.
All advertisements link to the appropriate website
so you can learn more about the products you're
interested in.
Finally, there are email links to many of our
contributors so you can engage with us.
HOW TO USE THE LINKS
A single click of the mouse will activate the link
you're interested in. Here's how they behave
depending on how you're reading the magazine:
ONLINE readers will note that these links open in
a new tab, or window, in your web browser, so you
won't lose your place in fll, as this stays open in
it's own tab or window.
If you're reading our PDF on your computer, Acrobat/
Adobe Reader will open the link in your browser
while holding the/ll page open for you to return to.
If you're reading our PDF on your iPad, iBooks will
ask you if you wish to leave to open the link. Once
you've viewed the link contents in Safari, simply
return to iBooks where you'll find fll remains open
on the page you were last reading.
Enjoy.
ARTIST, WRITER, PHOTOGRAPHER,
TEACHER, MENTOR
Tony Bridge is one of New Zealand's
leading photo educators with over 30
years experience as a photographer
himself, and as a teacher of photog¬
raphy at all levels. He is an industry
commentator, a blogger and a popular
columnist for fll Magazine.
Bridge on teaching photography:
'Nothing gives me more pleasure than
to share my knowledge, much of it not
available in books, with people seeking to
grow themselves as photographers'.
Bridge on his Hurunui Experience tours:
'Come, join me for a photo tour of up to 3
days, for only 3 people, and discover the
astonishingly beautiful Hurunui District of the
South Island.'
Bridge on his photography workshops:
'Share with others in one of my unique work
shops, designed to get you thinking in new
ways about photography.'
Bridge on mentoring photographers:
'Make a friend and become part of my strictly
limited mentoring programme, a one-on-one
journey, working towards your own goal and
developing your own vision.'
These programs are often bespoke,
tailored responses to the carefully anal¬
ysed needs, wants and aspirations of the
photographer concerned. It all begins
with a conversation, and that conversa¬
tion will very likely be an enduring one.
www.thistonybridge.com
tony@thistonybridge.com
+64 21 227 3985
MALCOLM SOMERVILLE
The rhinoceros is
still in the room...
The rhinoceros is still in the
room...
Not a mistake but a deliberate, precise,
repeatable copy. Or should I say an edition that
is facilitated by this 'easy-as' digital technology.
The same technology that is helping build a
huge business in 'Art'.
The art that is created partly by circumstance
and largely by popular demand.
The art that creates the artist rather than
necessarily the artist that creates the art.
Let me explain.
The legendary status of screen actress Marilyn
Monroe has created a massive industry of
images that are validated as 'Art' by being
presented and sold through exclusive exhibitions
at art galleries. Many of the images are those
we have noticed in books, magazines, and films,
such as the 'Bert Stern - Original Madman'
documentary.
One such recent 'Marilyn' touring exhibition
revealed some interesting print sales worthy
of comment.
At the top end in the reproduction value chain
was a signed Bert Stern photograph (from the
original negative), 48 X 47 cm for NZ$12,500.00.
It was number 248 of an edition of 250. Wow,
that adds up to a very high yield off that single
negative. But the practice of creating this art
does not limit the yield off that negative.
This exhibition included work by Bill Carroll,
who happened to own a small photo processing
lab in Los Angeles and took a few Kodachrome
shots of a young Norma Jeane Baker to use for
retail display. Many years later he realised
Norma Jeane had morphed into Marilyn Monroe
and rummaged through his storage to find the
old Kodachromes. Now Bill is an artist! His prints
command NZ$2,200 each from editions of 25.
So an artist in photography seems to become so
after the fact. When many definitions of art or
fine art are based on creative intention or purpose
at the moment of performance of the art; the
photograph becomes valuable later as a collection
piece, and a reproducible one which henceforth
anoints the photographer as an 'artist'.
A further opportunity is demonstrated by
another image for sale in the exhibition which
was one of a number by George Barris - a signed
Lithograph A/P (artist proof) for NZ$750.00
which was also available as an unsigned open
edition for NZ$250.00. George also had signed
122 | Issue 27 | November 2013
photos from original negatives for NZ$2,200.00
each from an edition of 99.
Much food for thought when you do the maths,
and know who is creating the 'artist' myths and
clipping the ticket as they go past.
Marilyn had a short, full and sad life. Maybe
this part of it is the saddest as her likeness is
now traded by a host of artists cashing in on
her legend.
Before I finish on artists perhaps a few minutes
to look at a parallel artistic factory that I was
intrigued to read about in a recent New Yorker
magazine article The Doctor Is In, that delves
deep into the life and business of Dr. Luke who
has co-written or co-produced more than thirty
Top Ten music singles since 2004 by performers
including Miley Cyrus, Katy Perry, Britney
Spears, and Pink.
Real name Lukasz Gottwald, the Dr's music
publishing company Prescription Songs has more
than 40 songwriters and producers. Big teams
research, create and with access to leading
technology, 'construct' the hits. A highly
sophisticated manufacturing industry where
mathematically constructed lyrics synchronise
perfectly with tightly coordinated marketing
- including finely timed and carefully worded
social media campaigns to drive audiences to
new releases. Its an intriguing insight into how
a creative business embraces creativity, utilises
available technology and applies constant
monitoring to almost ensure success.
Photography - for success, wide audience
appeal, and economy - needs to get a head of
steam that drives all aspects creatively rather
than just what is happening through
the viewfinder.
However if your calling is higher, be comfortable
that in the future your images may make you
an artist - by accident, fate or circumstance -
rather than by design.
As to the Rhino, perhaps cloning or limited
editions or genetic engineering to remove their
horn will reverse the trend and perpetuate
the species.
As counter intuitive as that is to art. ■
MS
malcolm@fllmagazine.com
/ 22 /or PHOTOGRAPHERS AND AFICIONADOS | 123
u'acmp
austnalian commercial I
-^media photographers
Upcoming events
With the end of the year closing in on us, ACMP
have a number of events up our sleeve.
Christina Force is bringing her 'Marketing for
Photographers' workshop to The Gold Coast on
November 4 at the new CoSpaces, 45 Nerang
St, Southport QLD 4215, Australia.
The busy pre-Christmas period is approaching.
When the perfect jobs come up do your
potential clients know who you are? And will
they be impressed enough to pick you? In this
one-day workshop, photo consultant and ex¬
agent Christina Force helps you implement a
comprehensive marketing plan for the next
12 months. Whether you're just starting out,
or are an experienced shooter, you will leave
with actions which you can implement
immediately to generate more revenue. For
further information or booking see
www.acmp.com.au/events.
The ACMP annual AGM is scheduled for
December 4 in Sydney at the new Black Eye
Gallery, come along for a 30 minute AGM,
followed by an end of year get together that
includes the announcement of the ACMP
Student Photographer of the year and The ACMP
Achievement in Photography Award. See www.
acmp.com.au/events for more details.
Looking for a new camera bag that fits your
gear, your laptop, cords, card and more? ACMP
have a great offer on Manfrotto Unica VII bags,
thanks to the folks at ADEAL, head over to
www.acmp.com.au/events and get your own
Christmas gift early, or treat your assistant!
Sacha Walters, ACMP Administrator
admin@acmp.com.au
acm
guotralian cammef'eini
-|-media photaarapher?
P
5
2013
Back Eye Gallery Sydney 3/133 Daring hurst RD. Darlkighurst NSW
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124 | Issue 27 | November 2013
This ACMP page is sponsored by fll Magazine.
i i MB!
roto rrenzy
dflB* r | |BI ■.
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Experienced long-term
exkiLitor
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passionate and dedicated people
who can help with your exhibition.
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• 24 linear metres on permanent walls,
15 linear metres available on movable
partition walls (3x5 linear metres).
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• Sales have been achieved
at all previous exhibitions.
• Established networks in local
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• Perfect for solo or group exhibitions,
book launches and special projects.
• Assistance available with
curation and promotion.
Visit the Foto Frenzy website
www.fotofrenzy.com.au/spaces/
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and terms and conditions.
FOTO FRENZY BRISBANE AUSTRALIA
Paul Steunebrink
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© Shireen Hammond
Wedding photography is different
On Monday September 23rd a segment was
aired on the nationally broadcasted Australian
morning TV programme, 'The Morning Show'
featuring a representative from the consumer
organisation 'Choice'.
During the show, advice was given to consumers
looking for wedding photography to shop
around, and even to not reveal to the
photographer that the consumer was looking
for a wedding photography service, but simply
an 'Event' and let the photographer discover it
was a wedding on the day. (Can you imagine?)
The rationale for this advice from Choice was
based on their view that in many instances
service providers to the wedding industry,
particularly wedding photographers, are often
inclined to increase their prices just because
the event is a wedding.
The AIPP most certainly supports the view that
no one should carry out this sort of price
manipulation practice. But we are also very
strongly of the view that Choice simply do not
understand the difference between providing
a professional wedding photography service
and professional event photography services.
This unfortunate advice and TV segment does,
though, illustrate that the public, and even
AUSTRALIAN INSTITUTE OF
PROFESSIONAL PHOTOGRAPHY
Qipp
organisations representing the interests of the
public, simply do not understand the complexity
of professional photography, and the amount
of time and planning involved in providing a
professional photographic service.
The AIPP want to remedy this and would like
your views on what we need to say in a public
awareness campaign explaining the difference.
If you would like to give us your views and add
to this campaign please email us at: admin@
aipp.com.au with the subject line 'WEDDING
PHOTOGRAPHY IS DIFFERENT'.
We look forward to hearing from you...
126 | Issue 27 | November 2013
This AIPP page is sponsored by/II Magazine.
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New Zealand Institute of
Professional Photography
aTonic
With the awards season almost over, NZIPP
Auckland is once again hosting 'aTonic' - an
event offering three high caliber workshops in
one day.
aTonic has been around for close to a decade,
originally hosted by the NZIPP and Queensberry
as a way of inspiring and energising the local
wedding and portrait community. Since then,
it's become a real institution with a host of
international and local speakers.
The focus has always been on the practical
aspects of photography, and this year is no
different with 3 great workshops. Product
Lighting presented by Luke White, Pin Up
Mastery with Talia Stephens and Epic Storytelling
a wedding workshop presented by Isaac and
Amber de Reus.
aTonic is on November 13th at Kingsize Studios
in Auckland - for further details please click
here:
The NZIPP has been a part of professional
photography in New Zealand for 75 years, and
is dedicated to setting high standards within the
field of professional photography. For those
who are already making an income or for those
looking to go full time we have monthly meetings
up and down the country and it's a great way
to connect with fellow photographers. Not only
that, it's a good way to engage and learn about
better business practice.
If you're interested in joining you can attend
any of our monthly meetings around the
country. For further details please contact your
regional chairperson, a full list of contacts is
available from our website.
GINO DEMEER
Auckland Chairman New Zealand Institute of
Professional Photography
130 | Issue 27 | November 2013
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GARY BAILDON
Can we still
have an original
idea in the 21st
century?
'Nearly all of our originality comes from the stamp
that time impresses upon our sensibility.' -Charles
Baudelaire, poet and art critic (1821-1867)
More than 20 years ago I almost went into
clinical depression over the fact that I'd surmised
that everything new - photographically - must
have already been done and how could any of
my half baked ideas possibly be original, and
therefore what was the point of trying to create
anything new?
I know, that makes me sound a bit unstable,
doesn't it? The thing is, I have a real fear of
producing something that I think is my finest
work to date only to hear someone saying, 'oh
that's so like a Job Loblaw image, is it meant as
a tribute?' Of course I would never knowingly
rip something off, or set out to produce
something that could be so readily compared,
but the question is - how can I actually be sure?
25 years ago we had relatively limited access to
the images of the day, and those of days past,
compared to what we have at our fingertips
today. There were magazines, books and
exhibitions, but precious little else, and you had
to work and network to uncover artists and
images to admire. In fact, you had to be an
actual member of society (pardon the wee social
media slur) and spend time with people, visit
galleries and generally get out there to keep up
with the play.
It's a whole different ballgame now with the
image overload we 'photographers' and
everybody else on the planet are bombarded
with every waking hour of our increasingly busy
lives. In 2013, literally everyone is a photographer
- by the definition that anyone with a camera
on their person is a photographer anyway - and
every single day I see regular people pointing
their pocket-sized devices at the world around
them as they unthinkingly add to the visual
clutter by capturing and sharing images that
132 | Issue 27 | November 2013
© Gary Baildon
mean something to them at that particular point
in time.
Don't get me wrong, I think this is great, doesn't
everyone who has a passion for something want
the world to share it with them? The bottom
line though, is that with this much visual
interference being run it might well be that my
paranoid visions of 25 years ago have finally
borne fruit. So where to from here, how can
we be true to our internal vision, and do we
really ever know where concepts we visualise
originate from?
When an idea for an image comes to me I do a
fairly broad Google image search to see if it
identifies anything glaring, especially anything
I might have seen recently - perhaps even
unwittingly! With all of the images flash carding
in front of us how could we possibly remember
them all? After all, any idea has to have a seed
and I believe it's best to check. When Google
comes up clean I press ahead and throw myself
into it, no longer worrying about comparisons
because I know I've done my best to ensure
that the idea has actually come from within.
The fact is that it probably has been done before,
at some level and to some standard, but it hasn't
been done by me to my standard and having
done a little homework and self-questioning I'm
morally clean and that's enough for me to be
able to sleep at night.
As American writer Herman Melville, the author
of Moby Dick, said, 'It is better to fail at originality
than to succeed in imitation'.
I'm giving that a crack. ■
Buzz
gary@fllmagazine.com
/ 22 /or PHOTOGRAPHERS AND AFICIONADOS | 133
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fll far PHOTOGRAPHERS AND AFICIONADOS | 135
THE DEEP END - IAN POOLE
If only I had...
If only I had a Leica has been a plea quietly
sobbed into my short black espresso for more
years than I can remember. It usually follows a
visit to a gallery showing high quality black and
white photographs - like a Cartier-Bresson
retrospective; or it comes after getting images
back from being entered in a competition
bearing less than expected scores stamped on
the back. Or in the midst of a bout of photographic
depression brought on by a bad case of
equipment envy. Whilst this well recognised
clinical condition is usually associated with the
male of the profession (a recurring case of boys'
toys), it is know to effect both genders of
photographers.
Hang on - I do own a Leica!
A lllg - and what an uncomfortable camera it
is. Purchased by taking advantage of someone
else's misfortune, yours truly, the eternal single
lens camera expert with many years of mostly
Nikon professional experience behind him, then
leaps into the world driving a rangefinder
camera. Let's ignore the convoluted, complex
manner of inserting film into the Leica - that is
an epic on it's own. Instead, let us concentrate
on the viewfinder. The very nature of the
rangefinder is to be able to see the subject area
and the peripheral field - simultaneously. This
is something that any SLR exponent has long
learnt to either ignore or develop a work-around
for. The two methods of viewing, whilst perfectly
workable, are not readily, nor easily, compatible.
The object of my camera lust, desired so ardently
and for so long, is now the master of my
visual downfall!
Camera lust stories are legend. In the days of
large format film, to own a Sinar was to be at
the top of your game - but then which format
- 5x4' or 5x7' or 10x8'? Whilst the pragmatic
Swiss elves creating Sinar in Shaffhausen would
argue that the interchangeability of their product
was the solution, that very versatility was a
fraught debate. The 5x4 is small in the large
format arena, and 5x7 is the perfect compromise
for a 35mm film shooter, and the choices for a
10x8 enlarger are very limited - unless you wish
only to produce classic contact prints.
Dare I mention Canon and Nikon DSLRs in the
same breath? It would be easier to settle the
Holden versus Ford battle - although market
forces and a new Australian Government may
settle that one without too much long held bias.
Moving rapidly back to cameras, I can re-enter
this debate having owned both of the major
DSLR brands at various times. Lusting after, and
switching, camera brands has hidden trials and
tribulations. All those carefully gathered filters
and attachments rarely make the transfer easily
and there is a financial catch to succumbing to
this disease.
Few of us can claim to be immune from this
insidious disease of camera lust. ■
Ian Poole
Poolefoto.wordpress.com
www.fotofrenzy.com.au
ian@fllmagazine.com
136 | Issue 27 | November 2013
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coastline, written by one of the country's finest writers, and with
photographs by one of its most distinguished photographers.
This magnificent book pays homage to the narrow margin
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hinterland we New Zealanders call home.
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